Method and system for optimizing communication about entertainment

ABSTRACT

A method for optimizing communication about entertainment events, including live music events. The method can include acquiring entertainment event data from a plurality of data sources, acquiring artist data, acquiring social media data, providing an application that allows a user of the application to access information associated with the entertainment event, wherein the user can save their favorite venues or artists, flag upcoming events, access special promotions, or share their plans and interests via social media, and creating a database, wherein the database includes information related to users, events, artists, venues, advertisers, and publications. The method may also include features for gamification of activity within the application and tracking of a “buzz” score to identify artists gaining in popularity.

CROSS REFERENCE TO RELATED APPLICATION

This application is a continuation of U.S. Ser. No. 13/586,830, filedAug. 15, 2012, titled METHOD AND SYSTEM FOR OPTIMIZING COMMUNICATIONABOUT ENTERTAINMENT (Attorney Docket No. 34732/04000), which claimspriority to U.S. Provisional Patent Application Ser. No. 61/523,649,filed on Aug. 15, 2011, titled METHOD AND SYSTEM FOR OPTIMIZINGCOMMUNICATION ABOUT ENTERTAINMENT (Attorney Docket No. 34732/04000),which are hereby incorporated in their entirety by reference.

BACKGROUND OF THE INVENTION

The present invention relates to optimizing communication aboutentertainment. It finds particular application in conjunction with,e.g., live music and will be described with particular referencethereto. Many entertainment communication channels are fragmented ornarrowly focused and lack the ability to present a user with acomprehensive view of entertainment events and information. It will beappreciated, however, that the invention is also amenable to otherapplications.

SUMMARY

According to one embodiment of the present invention, a method foroptimizing communication about entertainment events, including acquiringentertainment event data from a plurality of data sources, acquiringartist data, wherein the artist is associated with the entertainmentevent, acquiring social media data, including a measure of socialactivity associated with the entertainment event or artist, providing anapplication that allows a user of the application to access informationassociated with the entertainment event, including location, date, time,tickets, venue, samples of the artist material, advertisements,promotions, articles, merchandise, or related events, wherein the usercan save their favorite venues or artists, flag upcoming events, accessspecial promotions, or share their plans and interests via social media,and creating a database, wherein the database includes informationrelated to users, events, artists, venues, advertisers, andpublications.

The descriptions of the invention do not limit the words used in theclaims in any way or the scope of the claims or invention. The wordsused in the claims have all of their full ordinary meanings.

BRIEF DESCRIPTION OF THE DRAWINGS

In the accompanying drawings, which are incorporated in and constitute apart of the specification, embodiments of the invention are illustrated,which, together with a general description of the invention given above,and the detailed description given below, serve to exemplify theembodiments of this invention.

FIG. 1 illustrates a simplified, high-level flowchart showing exemplarysteps associated with optimizing communication and awareness of livemusic events for a particular market;

FIG. 2 illustrates a flowchart showing exemplary steps associated withbuilding an exemplary comprehensive live music event ecosystem database;

FIG. 3 illustrates a flowchart showing exemplary steps associated withacquiring exemplary comprehensive live music event venue andneighborhood information;

FIG. 4 illustrates a flowchart showing exemplary steps associated withacquiring exemplary comprehensive live music event “event” information;

FIG. 5 illustrates a flowchart showing exemplary steps associated withacquiring exemplary comprehensive live music event artist content andrelated information;

FIG. 6 illustrates a flowchart showing exemplary steps associated withacquiring exemplary comprehensive social media information and “buzz”about fans, artists, venues, and promoters;

FIG. 7 illustrates a flowchart showing exemplary steps associated withdisplaying exemplary live music event information;

FIG. 8 includes an exemplary screenshot of the application displayingexemplary “Discover Events” view information;

FIG. 9 includes an exemplary screenshot of the application displayingexemplary “My Picks” view information;

FIG. 10 includes an exemplary screenshot of the application displayingexemplary “Search by Artist” view information;

FIG. 11 includes an exemplary screenshot of the application displayingexemplary “Search by Keyword” view information;

FIG. 12 includes an exemplary screenshot of the application displayingexemplary “Buzzing Events” view information;

FIG. 13 includes an exemplary buzzing score calculation flowchart;

FIG. 14 includes an exemplary screenshot of the application displayingexemplary “friend recommendation” view information;

FIG. 15 includes an exemplary screenshot of the application displayingexemplary “Critic's Pick” view information;

FIG. 16 includes an exemplary screenshot of the application displayingexemplary “one event page” view information and artist tabs;

FIG. 17 includes an exemplary screenshot of the application displayingexemplary “one event page” view information and venue information;

FIG. 18 a includes a table showing exemplary badge names anddescriptions;

FIG. 18 b includes an exemplary screenshot of the application displayingexemplary badges earned by the user;

FIG. 18 c includes an exemplary screenshot of the application displayingexemplary achievement information;

FIG. 19 includes an exemplary screenshot of the application displayingexemplary badges earned by the user and badges available to be earned;

FIG. 20 includes an exemplary depiction of an exemplary advertisementassociated with the application;

FIG. 21 includes an exemplary depiction of another exemplaryadvertisement associated with the application;

FIG. 22 a includes an exemplary screenshot of the application displayingan exemplary promotion offered to a user of the application;

FIG. 22 b includes an exemplary screenshot of the application displayinganother exemplary promotion offered to a user of the application;

FIG. 23 includes an exemplary screenshot of the application displayingan exemplary locally branded version of the application;

FIG. 24 includes an exemplary screenshot of the application displayingan exemplary interactive promotional tool for capturing and sharingmedia;

FIG. 25 includes an exemplary screenshot of the application displayingan exemplary view of a promotion creation tool;

FIG. 26 includes an exemplary screenshot of the application displayinganother exemplary view of a promotion creation tool;

FIG. 27 includes an exemplary screenshot of the application displayingan exemplary view of an add music listing tool; and

FIG. 28 includes an exemplary depiction of exemplary communicationprotocols and exemplary devices containing the application.

DESCRIPTION

The following includes definitions of exemplary terms used throughoutthe disclosure. Both singular and plural forms of all terms fall withineach meaning:

“Computer Readable Medium”, as used herein, includes but is not limitedto any memory device, storage device, compact disc, floppy disk, or anyother medium capable of storing data temporarily and/or permanently thatcan be interpreted by a computer.

“Software”, as used herein, includes but is not limited to one or morecomputer executable instructions, routines, algorithms, modules orprograms including separate applications or code from dynamically linkedlibraries for performing functions and actions as described herein.Software may also be implemented in various forms such as a stand-aloneprogram, a servlet, an applet, instructions stored in a memory, part ofan operating system or other type of executable instructions. It will beappreciated by one of ordinary skill in the art that the form ofsoftware is dependent on, for example, requirements of a desiredapplication, the environment it runs on, and/or the desires of adesigner/programmer or the like.

“Signal”, as used herein, includes but is not limited to one or moreelectrical signals, analog or digital signals, one or more instructions,a bit or bit stream, or the like. The term “command” is synonymous with“signal.”

“Network”, as used herein, includes but is not limited to the internet,intranets, Wide Area Networks (WANs), Local Area Networks (LANs), andtransducer links such as those using Modulator-Demodulators (modems).

“Internet”, as used herein, includes a wide area data communicationsnetwork, typically accessible by any user having appropriate software.

“Intranet”, as used herein, includes a data communications networksimilar to an internet but typically having access restricted to aspecific group of individuals, organizations, or computers.

“Integrated Circuit” (“IC”), as used herein, includes, but is notlimited to a small electronic device made out of a semiconductormaterial. Integrated circuits are used for a variety of devices,including microprocessors, audio and video equipment, and automobiles.

“Chip”, as used herein, includes but is not limited to a small piece ofsemiconducting material (usually silicon) on which an IC is embedded.Computing devices consist of many chips placed on electronic boardscalled printed circuit boards. Different types of chips include, forexample, CPU chips (also called microprocessors), which contain anentire processing unit, and memory chips, which store data.

“Device”, as used herein, includes any machine or component thatattaches to a computing device. Examples of peripheral devices, whichare separate from a main computing device, include disk drives,printers, mice, and modems. Examples of integrated peripherals, whichare incorporated into a main computing device, include centralprocessing units and application specific integrated circuits. Mostdevices, whether peripheral or not, require a program called a devicedriver that acts as a translator, converting general commands from anapplication into specific commands that the device understands.

“Address”, as used herein, includes but is not limited to one or moree-mail addresses, a distribution list including one or more e-mailaddresses, uniform resource locator (URL) and file transfer protocol(FTP) locations or the like, network drive locations, a postal address,a combination of an e-mail address and a postal address, or other typesof addresses that can identify a desired destination.

“Logic”, synonymous with “circuit” as used herein, includes but is notlimited to hardware, firmware, software and/or combinations of each toperform a function(s) or an action(s). For example, based on a desiredapplication or needs, logic may include a software controlledmicroprocessor, discrete logic such as an application specificintegrated circuit (ASIC), or other logic device. Logic may also befully embodied as software.

“Kernel”, as used herein, includes but is not limited to a component ofan operating system (OS) within a computing device. The kernel providesservices that may be used by other parts of at least one of the OS, thehardware, and applications run by the computing device. For example, thekernel is typically responsible for at least one of memory management,process and task management, and disk management.

“Kernel Module”, as used herein, includes but is not limited toindependent pieces of software that provide an interface between an OSincluded within a computing device and other devices that communicatewith the OS (e.g., at least one of the hardware and peripheral devices).Generally speaking, a kernel module is a section of software in thekernel responsible for supporting a specific feature or capability. Forexample, file system types and device drivers are kernel modules.

“Command Line Interpreter” (CLI), as used herein, includes but is notlimited to an interface between a user and the kernel. The CLI, alsoreferred to as a “shell,” interprets commands entered by, for example, auser and arranges for the commands to be executed by, for example, aCPU.

In one embodiment, the present system and method provide the capabilityof optimizing communication about entertainment. For example,entertainment may include music (including live or recorded), plays,films, shows, acts, productions, or any other performances. In oneembodiment, communication and awareness associated with live music isoptimized. In particular, an exemplary application, also referred to as“GETn2it” or “in2une,” can be utilized to optimize communication andawareness of live music events for a particular market.

As illustrated, blocks represent logic functions, actions and/or eventsperformed therein. It will be appreciated that electronic and softwaresystems involve dynamic and flexible processes such that the illustratedblocks and described sequences can be performed in different sequencesor in parallel. It will also be appreciated by one of ordinary skill inthe art that elements embodied as software may be implemented usingvarious programming approaches such as machine language, procedural,object-oriented, or artificial intelligence techniques. It will furtherbe appreciated that, if desired and appropriate, some or all of thesoftware can be embodied as part of a device's operating system.

With reference to FIG. 1, a simplified, high-level flowchart 100 showsexemplary steps associated with optimizing communication and awarenessof live music for a particular market. These steps may be implementedvia an application, such as, e.g., GETn2it. In block 110, acomprehensive live music event ecosystem database may be built. Thedetails associated with block 110 will be described in more detail belowin association with FIGS. 2-6. Following block 110, block 120 allows forthe customized display of live music event information, e.g., based onfactors such as fan/user desires, relevancy, and requests. The detailsassociated with block 120 will be described in more detail below inassociation with FIGS. 7-17. Following block 120, block 130 can optimizea single destination hub for live music events in a particular localmarket. A hub may be, e.g., a local concert database or local concertcalendar. When optimized, the hub can improve communication and commerceassociated with the live music events included in the hub. In otherembodiments, as described below, a local market can take advantage of asingle comprehensive live music event hub and ecosystem workflow tooptimize acquisition and display of event, venue, artist,recommendation, general social media activity, and the social media andin-application activity of a user's friends in and around live musicevents.

With reference to FIG. 2, a flowchart is illustrated in accordance withan exemplary embodiment of step 1 (block 110), showing exemplary stepsassociated with building a comprehensive live music event ecosystemdatabase. At block 210, the exemplary application can acquirecomprehensive live music event venue and neighborhood information.Exemplary details associated with block 210 will be described in moredetail below in association with FIG. 3. At block 220, the exemplaryapplication can acquire comprehensive live music event “event”information. Exemplary details associated with block 220 will bedescribed in more detail below in association with FIG. 4. At block 230,the exemplary application can acquire comprehensive live music eventartist/performer information and content. Exemplary details associatedwith block 230 will be described in more detail below in associationwith FIG. 5. At block 240, the exemplary application can acquirecomprehensive live music event fan and artist discovery, sharing, socialmedia, and online metrics information. Exemplary details associated withblock 240 will be described in more detail below in association withFIG. 6.

With continued reference to FIG. 2, after blocks 210-240, theapplication can create a relational database of live music eventecosystem data in block 250, based on all of the information acquired inblocks 210-240. At block 260, the application can execute a vetting andmatching algorithm to compare potentially related, overlapping, orconflicting data in the relational database. At block 270, theapplication determines whether the data in the relational database isproperly vetted, verified, and related. If the data is not, theapplication proceeds to block 272, where the data may be manuallyreconciled by, e.g., crowd sourcing, application users, and/orapplication management. After block 272, the data is rechecked in block270. This loop may continue until the data is determined to be properlyvetted, verified, and related. Next, the application proceeds to block274, where the comprehensive live music event relational data is stored.In block 280, this data store flows into the optimized live music eventecosystem data. In addition, in block 290, this data store flows intofurther steps associated with optimizing live music event communicationand commerce, as shown below in association with FIG. 7.

With reference to FIG. 3, a flowchart is illustrated in accordance withan exemplary embodiment of block 210, showing exemplary steps associatedwith acquiring comprehensive live music event venue and neighborhoodinformation. At block 305, the exemplary application can utilize ticketsolution data feeds to acquire venue name, address, contact information,and other venue information. This step and other steps may beaccomplished automatically via programmatic means. For example, livemusic event venues and promoters may utilize primary ticket solutionproviders to sell tickets to their events (e.g., Ticketmaster). Primaryticket solutions may provide data export feeds and applicationprogramming interfaces (APIs) as a means for other companies to use theevent data to further market events and sell their tickets. In thismanner, the application may utilize these ticket solution data feeds toacquire the associated information.

At block 310, the exemplary application can utilize event aggregatordata feeds to acquire venue name, address, contact information, andother venue information. For example, event aggregators may createdatabases of live music event information (e.g., Eventful). Includedevents may include ticketed and non-ticketed events. These eventaggregators may sell access to their databases through event feed APIs.In this manner, the application may utilize these event aggregator datafeeds to acquire the associated information.

At block 315, the exemplary application can utilize secondary ticketseller data feeds to acquire venue name, address, contact information,and other venue information. For example, secondary ticket sellers mayexist in the marketplace and facilitate a secondary market for buyingselling tickets to live music events (e.g., TicketsNow). This buying andselling may be between fans. These secondary ticket sellers may sellaccess to their databases through event feed APIs. In this manner, theapplication may utilize these secondary ticket seller data feeds toacquire the associated information.

At block 320, the exemplary application can utilize local media sourcedata to acquire venue name, address, contact information, and othervenue information. For example, the local market media may cover andreport on live music (e.g., the alternative newsweekly the NashvilleScene covers music events in Nashville, Tenn.) and may provide venuelistings in their print publication and websites. Venue information maybe available as a data feed from the local media source or a researchsource. In this manner, the application may utilize local media sourcedata to acquire the associated information.

At block 325, the exemplary application can utilize a manual dataacquisition process to acquire venue name, address, contact information,and other venue information. For venue information not available fromprogrammatic data feeds, one or more manual data acquisition processesmay be utilized. For example, the application may use: (1) a simpleweb-based tool, application, or form for entering venue information via“crowdsourcing;” or (2) Event Synch, a web application available forartists, venues, and promoters to manually enter their venue and concertcalendar information. In this manner, the application may utilize amanual data acquisition process to acquire the associated information.FIG. 27 includes an exemplary screenshot 2700 of the applicationdisplaying the fields of an exemplary manual data acquisition process,e.g., an add live music listing tool.

With continued reference to FIG. 3, after blocks 305-325, theapplication can create a relational database of live music event venuesin block 330, based on all of the information acquired in blocks305-325. Proceeding to block 335, the relational database of live musicevent venues yields the primary venue data. Primary venue data caninclude, e.g., venue name, alias, address, city/state/zip code/countrycode, phone number, email, website, social media sites, geographiclatitude/longitude, geographic neighborhood, ticket solution and ID, andany other primary or secondary data.

At block 340, the application can execute a vetting and matchingalgorithm to create a single entry for each venue in the relationaldatabase. At block 345, the application determines whether the venuedata in the relational database is properly vetted, verified, andrelated. If the data is not, the application proceeds to block 350,where the data may be manually reconciled by, e.g., crowd sourcing,application users, and/or application management. After block 350, thedata is rechecked in block 345. This loop may continue until the data isdetermined to be properly vetted, verified, and related. The applicationthen proceeds to block 355, where the application can execute a geo(geographical) look-up utilizing verified venue information to acquiregeo-neighborhood and geo-fencing (from, e.g., Google Geocoding API andMaponics Geo Fencing Neighborhoods).

Next, the application proceeds to block 360, where the venue data isstored in the comprehensive live music event relational data store.After block 360, in block 365, the live music event venue andneighborhood information is optimized. As shown in block 370, this datastore flows into further steps associated with optimizing live musicevent communication and commerce, as shown below in association withFIG. 7.

With reference to FIG. 4, a flowchart is illustrated in accordance withan exemplary embodiment of block 220, showing exemplary steps associatedwith acquiring comprehensive live music event “event” information. Atblock 405, the exemplary application can utilize ticket solution datafeeds to acquire event data. This step and other steps may beaccomplished automatically via programmatic means. For example, livemusic event venues and promoters may utilize primary ticket solutionproviders to sell tickets to their events (e.g., Ticketmaster). Primaryticket solutions may provide data export feeds and APIs as a means forother companies to use the event data to further market events and selltheir tickets. In this manner, the application may utilize these ticketsolution data feeds to acquire the associated information.

At block 410, the exemplary application can utilize event aggregatordata feeds to acquire event data. For example, event aggregators maycreate databases of live music event information (e.g., Eventful).Included events may include ticketed and non-ticketed events. Theseevent aggregators may sell access to their databases through event feedAPIs. In this manner, the application may utilize these event aggregatordata feeds to acquire the associated information.

At block 415, the exemplary application can utilize secondary ticketseller data feeds to acquire event data. For example, secondary ticketsellers may exist in the marketplace and facilitate a secondary marketfor buying selling tickets to live music events (e.g., TicketsNow). Thisbuying and selling may be between fans. These secondary ticket sellersmay sell access to their databases through event feed APIs. In thismanner, the application may utilize these secondary ticket seller datafeeds to acquire the associated information.

At block 420, the exemplary application can utilize local media sourcedata to acquire event data. For example, the local market media maycover and report on live music (e.g., the alternative newsweekly theNashville Scene covers music events in Nashville, Tenn.) and may provideevent listings in their print publication and websites. Event data maybe available as a data feed from the local media source or a researchsource. In this manner, the application may utilize local media sourcedata to acquire the associated information.

At block 425, the exemplary application can utilize a manual dataacquisition process to acquire venue name, address, contact information,and other venue information. For event information not available fromprogrammatic data feeds, one or more manual data acquisition processesmay be utilized. For example, the application may use: (1) a simpleweb-based tool, application, or form for entering event information via“crowdsourcing;” or (2) Event Synch, a web application available forartists, venues, and promoters to manually enter their venue and concertcalendar information. In this manner, the application may utilize amanual data acquisition process to acquire the associated information.

With continued reference to FIG. 4, after blocks 405-425, theapplication can create a relational database of live music event“events” in block 430, based on all of the information acquired inblocks 405-425. Proceeding to block 435, the relational database of livemusic event “events” yields the primary event data. Primary event datacan include, e.g., event date, event artist headliner, event artistsupporting artists, event venue info, ticket cost, ticket purchase URL,and any other primary or secondary data.

At block 440, the application can execute a vetting and matchingalgorithm to create a single entry for each event in the relationaldatabase. At block 445, the application determines whether the eventdata in the relational database is properly vetted, verified, andrelated. If the data is not, the application proceeds to block 450,where the data may be manually reconciled by, e.g., crowd sourcing,application users, and/or application management. After block 450, thedata is rechecked in block 445. This loop may continue until the data isdetermined to be properly vetted, verified, and related. Next, theapplication proceeds to block 460, where the event data is stored in thecomprehensive live music event relational data store. After block 460,in block 465, the live music event “event” information is optimized. Asshown in block 470, this data store flows into further steps associatedwith optimizing live music event communication and commerce, as shownbelow in association with FIG. 7.

With reference to FIG. 5, a flowchart is illustrated in accordance withan exemplary embodiment of block 230, showing exemplary steps associatedwith acquiring comprehensive live music event artist content and relatedinformation. At block 505, the exemplary application can utilize musicstore or site data feeds to acquire artist data and, if available,related content. This step and other steps may be accomplishedautomatically via programmatic means. For example, artists may provideor sell their content (e.g., audio, video, merchandise, concert tickets,etc.) via music stores or sites (e.g., iTunes, Soundcloud, Ticketmaster,venue and artist websites, etc.). For promotional purposes, musicstores, sites, and artists may provide authorized companies with theability to use artist content to market and promote the artist and/orsell their content. In this manner, the application may utilize thesemusic store or site data feeds to acquire the associated information.

At block 510, the exemplary application can utilize metadata providerdata feeds to acquire artist data. For example, artist metadataproviders (e.g., All Music Guide, Echonest, MusicBrainz, Next Big Sound,Music Stores, etc.) may create databases of artist information (e.g.,artist name, aliases, albums, tracks, social media sites, social mediametrics, social media buzz, etc.). These metadata providers may providefree access or sell access to their databases through data APIs. In thismanner, the application may utilize these metadata provider data feedsto acquire the associated information.

At block 515, the exemplary application can utilize artist discoveryand/or social media feeds to acquire public artist data and, ifavailable, content. For example, artists may use social media anddiscovery sites (e.g., Facebook, Youtube, Vimeo, Soundcloud, MySpace,Twitter, etc.) to generate awareness about themselves, enable fans toview video, hear audio, interact with other fans, and disseminateinformation about the band (such as, e.g., concert dates). Thesediscovery and social media sites may maintain public informationavailable to anyone on the Internet. This public information may beavailable via a data feed or an API. In this manner, the application mayutilize these social media feeds to acquire the associated information.

At block 520, the exemplary application can utilize local media sourcedata to acquire artist data. For example, the local market media maycover and report on live music (e.g., the alternative newsweekly, theNashville Scene covers music events in Nashville, Tenn.) and may provideartist information in their print publication and websites. Artistinformation may be available as a data feed from the local media sourceor a research source. In this manner, the application may utilize localmedia source data to acquire the associated information.

At block 525, the exemplary application can utilize a manual dataacquisition process to acquire artist information. For artistinformation not available from programmatic data feeds, one or moremanual data acquisition processes may be utilized. For example, theapplication may use: (1) a simple web-based tool, application, or formfor entering artist information via “crowdsourcing;” or (2) a webapplication available for artists, venues, and promoters to manuallyenter their event data, concert calendar, and artist information. Inthis manner, the application may utilize a manual data acquisitionprocess to acquire the associated information.

With continued reference to FIG. 5, after blocks 505-525, theapplication can create a relational database of artist content andinformation in block 530, based on all of the information acquired inblocks 505-525. Proceeding to block 535, the relational database ofartist content and information yields the primary artist data. Primaryartist data can include, e.g., artist name, aliases, audio/videocatalog, preview tracks, links to sites where content or merchandise maybe purchased, social media sites, discovery sites, artist images, artistbio, artist concert dates, and any other primary or secondary dataconcerning the artist.

At block 540, the application can execute a vetting and matchingalgorithm to create a single comprehensive entry for each artist in therelational database. At block 545, the application determines whetherthe artist data in the relational database is properly vetted, verified,and related. If the data is not, the application proceeds to block 550,where the data may be manually reconciled by, e.g., crowd sourcing,application users, and/or application management. After block 450, thedata is rechecked in block 545. This loop may continue until the data isdetermined to be properly vetted, verified, and related. Next, theapplication proceeds to block 560, where the artist data is stored inthe comprehensive live music event relational data store. After block560, in block 565, the live music event artist information is optimized.As shown in block 570, this data store flows into further stepsassociated with optimizing live music event communication and commerce,as shown below in association with FIG. 7.

With reference to FIG. 6, a flowchart is illustrated in accordance withan exemplary embodiment of block 240, showing exemplary steps associatedwith acquiring comprehensive social media information and buzz aboutfans, artists, venues, and promoters. At block 605, the exemplaryapplication can utilize social site data feeds to acquire social profiledata to the extent permitted by the user or social media platform. Thisstep and other steps may be accomplished automatically via programmaticmeans. For example, the application can allow users to register andlogin to the GETn2it or in2une application with their social mediaidentities (e.g., Google, Facebook, Twitter) and collect theirpermission-based social data. Detailed user social information may becaptured, such as, e.g., demographics, interests, likes, music,activities, and social connections (friends), as well as aggregatesocial metrics (number of new fans this week, number of audio or videoplays, etc.). In this manner, the application may utilize these socialsite data feeds to acquire the associated information.

At block 610, the exemplary application can utilize social data providerdata feeds to acquire social data. For example, the application maygather social media, peer-to-peer and web buzz, metrics from onlinecompanies (such as, e.g., Echonest, Next Big Sound, MusicMetric, etc.)to aggregate music related metrics and buzz information about artistsand from websites mentioning an artist or release or concert, and thesocial networks frequented by music fans and artists. In this manner,the application may utilize these social data provider data feeds toacquire the associated information.

At block 615, the exemplary application can capture user actions andrelated social data within the application (e.g., GETn2it, in2une). Forexample, the application can gather user action and social data aboutlive music event sharing (e.g., to which friends and which social mediasites events have been shared), audio plays, comments made (e.g., theaction taken and the sentiment expressed), video views, followersgained, when fans refer an event to friends, friend referral actions,purchases (e.g., tickets, tracks), etc. In this manner, the applicationmay utilize these user actions and related social data within theapplication to acquire the associated information.

At block 620, the exemplary application can utilize the application's“gamification” platform to acquire related social data. For example,certain specific user actions, when identified and recognized, cancontribute to positive business outcomes. To take advantage of this, a“gamification” platform can be implemented to track users for certainactivities, such as, e.g., audio plays, video plays, shares of eventswith friends, comments about events, creating and sharing My Pickscalendars, the acquisition of followers, and commenting by others. Forusers who share their My Picks calendars, additional referral useractions can be tracked for establishing influencer clout (e.g., a fanshares and then their “share-ees” click any of the above user actions).The gamification platform can be a programmatic tool to identify moreinfluential live music fans and users of the application. Additionalusage may include providing gifts to influencers and/or providing deals,promos, artist meet-and-greets, and campaigns by artists, venues, andbrands, etc. Gamification is described in further detail below. In thismanner, the application may utilize the gamification platform to acquirethe associated information.

With continued reference to FIG. 6, after blocks 605-620, theapplication can create a relational database of user actions, relatedsocial data, and buzz metrics and information in block 630, based on allof the information acquired in blocks 605-620. Proceeding to block 635,the relational database of user actions, related social data, and buzzmetrics and information yields the primary social data. Primary socialdata can include, e.g.: venue, artist, promoter, and fan permissionedsocial login to (GETn2it) application; related social data and useractions; and any other primary or secondary social data and buzzmetrics.

Next, the application proceeds to block 660, where the social data isstored in the comprehensive live music event relational data store.After block 660, in block 665, the social media information and buzzabout fans, artists, venues, and promoters is optimized. As shown inblock 670, this data store flows into further steps associated withoptimizing live music event communication and commerce, as shown belowin association with FIG. 7.

With reference to FIG. 7, a flowchart is illustrated showing exemplarysteps associated with displaying exemplary live music event information,e.g., based on fan/user desire, relevancy, and request. At block 705,the exemplary application can display live music event information forupcoming events in a local market or in proximity to a mobile device(e.g., events within a 25-mile radius of a mobile phone, mobile tablet,etc.) with the ability to request or refine the view of events byneighborhood. An exemplary screenshot of the application displayingevent information in accordance with block 705 will be described in moredetail below in association with FIG. 8.

At block 710, the exemplary application can display live music eventinformation based on fan user social profile inference or recommendation(e.g., artist and music likes, purchased music, friends, inferences,etc.). An exemplary screenshot of the application displaying eventinformation in accordance with block 710 will be described in moredetail below in association with FIG. 9.

At block 715, the exemplary application can display live music eventinformation for an artist(s) by name or request to see artist(s) bygenre attribution. Exemplary screenshots of the application displayingevent information in accordance with block 715 will be described in moredetail below in association with FIGS. 10 and 11.

At block 720, the exemplary application can display live music eventinformation for a market or within proximity of a mobile device bysocial metric buzzing. An exemplary screenshot of the applicationdisplaying event information and an exemplary buzzing score calculationin accordance with block 720 will be described in more detail below inassociation with FIGS. 12 and 13.

At block 725, the exemplary application can display live music eventinformation, e.g., by friend recommendation as a single one-time view orby reoccurrence as an outcome of following the friend and their livemusic event recommendations. An exemplary screenshot of the applicationdisplaying event information in accordance with block 725 will bedescribed in more detail below in association with FIG. 14.

At block 730, the exemplary application can display live music eventinformation, e.g., by critic or expert recommendation as a result ofeditorial point of view for media (e.g., Music “Editor Picks” for alocal market publication, such as, Nashville Scene coverage of Nashvillelive music market). An exemplary screenshot of the applicationdisplaying event information in accordance with block 730 will bedescribed in more detail below in association with FIG. 15.

At block 735, the exemplary application can display each unique event.Each individual event may include, e.g., the following data to displayabout the event: hosting venue, date of event, ticket purchaseinformation, headlining artist, supporting artist(s), audio and videocontent, social media sites, promoter, images, biography, etc. This maybe referred to as the discovery, awareness, sharing and purchase pageabout the event. Exemplary screenshots of the application displayingevent information in accordance with block 735 will be described in moredetail below in association with FIGS. 16 and 17.

At block 740, the application can execute a live music event infodisplay request for data and request device type (e.g., web application,mobile device, mobile tablet, social media site, etc.). Next, theapplication proceeds to block 760, where the requested data is retrievedfrom the comprehensive live music event relational data store. Afterblock 760, in block 765, the application displays the optimized livemusic event data per fan/user desire, relevancy, and request, for therequesting device type. As shown in block 770, the data store can flowinto step 3 (block 130) to support optimizing a single destination hubfor live music events in each local market to optimize communication andcommerce for live music events, as discussed in more detail below.

FIG. 8 includes an exemplary screenshot 800 of the applicationdisplaying exemplary “Discover Events” view information. This view,along with the other views, can display live music event information forupcoming events in a local market or in proximity to a mobile device(e.g., events within a 25-mile radius of a mobile phone, mobile tablet,etc.) with the ability to request or refine view of events byneighborhood. Clicking an event image 810 will present the site userwith the event page (see, e.g., FIG. 16).

The application (e.g., GETn2it) can display a social concert calendar(e.g., 800) that includes a local live music calendar with rich mediaevent discovery, commenting, friend picks, sharing, followers andfollowing, publication curation and recommendation, and deep socialmedia integration. The GETn2it social concert calendar 800 can embed onwebsites (e.g., local market media such as alternative newsweeklypublications that cover local live music scenes) and can be availablevia mobile device and via social media sites. The exemplary screenshot800 shows exemplary live music events for the Nashville local market.The headers and associated information are described generally below:

Live Music Login 820

GETn2it Login 820 enables application users to authenticate using theirexisting social network credentials from social media providers such asFacebook, Twitter, Google, etc. making sharing live music events easyacross all social media. As users share events, content can be spreadthroughout each users' existing social network by leveragingfriend-of-friend reach. The authentication allows permission basedaccess to the fan's social profile data.

Discover Events 830 (Highlighted View in Screenshot 800)

The calendar can display an upcoming comprehensive list of events byListview and Gridview. Rotating images scroll through headliner andsupporting artists. The application can further refine a search usingSearch by (840) artist, genre, venue, date and open text. Clicking on anevent image 810 will open the event page and artists playing. Otheroptions may include: Listen to audio; View video; Share with friends;See reviews; Comment; Add to My Picks; Buy Tickets; and Audio Tracks.

Critics Pick 850

The official curated and recommended selection of live music events byother media outlets, e.g., the local market publication. Editors,Writers, Bloggers for the publication can create a My Picks list(description below), edit event and artist info and provide a CriticPick Comment.

My Picks 860

The concert calendar user can socially login and click a heart to pickany event. The user has a My Picks page where their selected picks areviewable, which the user can access using My Picks button 860. Users cancomment on shows and share their picks across social media with theirfriends. Users can gain and grow followers (e.g., like Twitter for LiveMusic). To incent and recognize engagement activities, the gamemechanics design can be used to create a status recognition badgeprogram, described in detail below. The badges are displayed on theuser's My Picks page.

Friends Pick 870

The Friends Pick 870 is a listing of users who have created My Picks860. The top of this page can display Featured Tastemakers. Thepublication may be encouraged to identify Tastemakers (a music editor,writer, columnist) and have them create picks, gain followers, andextend the reach of the publication through the connected social media.

Buzzing Events 880

The upcoming events listed on the Buzzing Events page are prioritizedaccording to a ranking algorithm. The Buzz ranking is described indetail below.

Add Live Music Listing and Update Artist Info (not Shown)

Online forms may be provided to get live music event information to theapplication's data team to be vetted. Another application, e.g., EventSynch, can add additional functionality for venues, artists, andpromoters to add, maintain, and update their upcoming live music eventinformation.

FIG. 9 includes an exemplary screenshot 900 of the applicationdisplaying exemplary “My Picks” view information.

My Picks 910

The user can discover live music events by date, venue, artist, week,genre, friend recommendation, Critic Pick, Buzzing Events, etc. andcreate their own My Picks 910 Calendar by clicking the event “heart” or“add event to My Picks” button. The user has a My Picks page 900 wheretheir selected picks are viewable. Users can comment on their shows andshare their picks across social media with their friends.

FIG. 10 includes an exemplary screenshot 1000 of the applicationdisplaying exemplary “Search by Artist” view information. FIG. 11includes an exemplary screenshot 1100 of the application displayingexemplary “Search by Keyword” view information. Views can display livemusic event information for an artist(s) by name or request to seeartist(s) by genre attribution. In other embodiments, Search “for” canalso be . . . Search for Venue, Search for Neighborhood, Search forEvents, Search for Deal, Search for Merchandise, Search for Dinner andDrink in the neighborhood (e.g., dinner, drink, activity options anddeals in the geo-fenced concert neighborhood).

FIG. 12 includes an exemplary screenshot 1200 of the applicationdisplaying exemplary “Buzzing Events” view information. By selecting theBuzzing tab 1210, upcoming events are listed based on a “buzz” score.The buzz score can be based on real time buzz and social mediapopularity from across the Internet. For example, the application canmonitor Facebook friend counts, audio track plays, video views, tweets,and other social mentions. The buzz score is an indication of “hotness,”trending, and familiarity to identify the next big thing. The buzz scoremay also be weighted by other factors, such as, e.g., trending socialbuzz with local market activity, shares, additions to My Picks, andtastemakers recommendations. Each event possesses a buzz score. Thoseevents with scores above a predetermined threshold may be shown on thebuzzing list and may be identified with the “on fire” (flame) icon 1220.

FIG. 13 includes an exemplary buzzing score calculation flowchart 1300.Determining a buzz score for artists playing upcoming events is aprogrammatic mechanism to show high-interest upcoming artists/events tolive music fans. Instead of showing all events, buzzing can provide apreferentially ordered view of events—programmatic curation. Anexemplary method of calculating an exemplary buzz score for an artistplaying an upcoming event is shown in flowchart 1300. The calculationstarts at block 1305, where the comprehensive live music eventrelational data store is accessed for an artist ID.

The buzz calculation algorithm starts at block 1310 and may includethree components: (1) national buzz; (2) local fan buzz; and (3) livemusic evangelist (VIP) buzz. In block 1315, national buzz can bedetermined by using the artist ID to call an artist social media metricsource (e.g., Echonest, Next Big Sound, MusicMetric, etc.) for a valueidentifying the following: Low Familiarity & High Hotness (e.g., Newemerging artist); High Familiarity & Low Hotness (e.g., establishedartist, not hot now, but was likely previously hot); or High Familiarity& High Hotness (e.g., the most visible artists touring today). The datacall to the artist social media music metric source can return a valuefor hotness and familiarity that is expressed as a percentage (between0.0 and 1.0). If the sum of familiarity and hotness is greater than 1.0,then the event is determined to have national buzz—it has either highfamiliarity or high hotness or both. If an event has national buzz, theapplication can add 2 points to its buzz score.

In block 1320, local fan buzz can be determined for the specific eventthat the artist is playing. Based on if the event is shared by sitevisitors, a numeric value can be earned toward the buzzing calculation.The local buzz weight can be determined based on the market where theartist is playing the event and if resulting fan event shares occur.Event share points can also be earned based on regional shares (e.g., asthe artist tour occurs, if buzz and comments build, prior date sharepoints can be added to future date scores to reward artists gaining fanmomentum). Local buzz can be based on the number of local market userevent shares. Each time the event is shared by a unique user, the eventcan earn a point. Total points can be tracked and when the point totalexceeds the local buzz threshold, then we consider the event to havelocal buzz. An exemplary point total threshold to determine local buzzis 10 points. If an event has local buzz, then the application can add 1point to its buzz score. In another embodiment, a prior market localbuzz determination can be added to the next stop in the artist tour torecognize momentum building buzz.

In block 1325, VIP buzz can be determined. Application users who createand share My Picks and acquire followers are important live musicVIPs/evangelists. User and referral actions can be tracked such that auser can earn one of five VIP levels. VIPs have followers who valuetheir recommendations and as a result, VIP followers may listen, view,share, and buy. E.g., if a VIP recommends a show, based on their VIPstatus level (e.g., 1, 2, 3, 4, or 5) a numeric value can be assigned tothe buzzing calculation. VIP buzz for an event can be determined basedon event recommendation by a user who has earned the VIP Badge. Thedetermination calculation can take into account the average VIP badgelevel earned (badge level range=1 through 5) by all users who shared theevent and compare it to a VIP buzz threshold value. If the average VIPbadge level of users who shared an event is >=2, then the event has VIPbuzz. If an event has VIP buzz, the application can add 1 to its buzzscore. The gamification VIP Badge/Challenge description is discussed inmore detail below in association with FIGS. 18 and 19.

A total buzz score is calculated by adding together the three buzzcomponents: (1+2+3)=(4). See table 1345 for an exemplary total buzzscore calculation. The scoring algorithm may be flexible to meet currentand future needs. For example, events with a total buzz score>0 may bedisplayed on the buzzing page. Since national buzz is equal to localbuzz+VIP buzz, they may balance out if the buzz score is used forsorting. In one embodiment, it may be preferred that the applicationvisually separate the buzz scores for national and local with differenticons on the buzz page and allow for distinguishing between events withlocal interest vs. national interest. This may help to highlight localbands who are gaining local and regional momentum prior to gainingnational buzz. In another embodiment, a user may be able to customizethe buzz scoring algorithm to tailor the buzz score to meet their ownpriorities and preferences. For example, a user may be more interestedin artists or events with local buzz rather than national buzz.

In block 1330, the application determines whether the total buzz scoreis above a display threshold. See table 1350 for an exemplary scoringkey threshold for displaying an event as a “buzzing” event. If the totalbuzz score is above the display threshold, the application proceeds toblock 1335 and the event will be included in the upcoming “buzzing” livemusic events. In addition, the total buzz score may be compared toanother threshold to determine if the event should be identified withthe “on fire” (flame) icon 1220. If the total buzz score is not abovethe display threshold, the application proceeds to block 1340 and theevent will not be included in the upcoming “buzzing” live music events.

FIG. 14 includes an exemplary screenshot 1400 of the applicationdisplaying exemplary “friend recommendation” view information. A factorthat may significantly influence live music event attendance may befriend recommendations. The application's friend recommendation featureenhances friend recommendations across all social media. As discussedabove, a user can then click an event “heart” or “add event to My Picks”button to add events to their My Picks page. Users can comment on theirshows and share their picks across social media with their friends. Byselecting the “Friends' Pick” tab 1410, events picked by the user'ssocial friends are listed.

Similarly, FIG. 15 includes an exemplary screenshot 1500 of theapplication displaying exemplary “Critics' Pick” view information. Byselecting the “Critics' Pick” tab 1510, events picked by critics arelisted. Critics' Pick calendars are created in the same manner asFriends' Pick calendars. The difference is that the Expert or Critic mayhave an editorial point of view that they are promoting or enhancingwith the Critics' Pick calendar. For example, a local media publicationor media (e.g., local alternative newsweekly publication, or radiostation, etc.) may have music editors, writers, commentators, on-airpersonalities, etc. who express an editorial point of view orrecommendation about upcoming live music events. Critics' Pick calendarsmay be embedded as a feature of the editorial publication or media.

In exemplary screenshot 1500, two exemplary critics 1520 for theexemplary local media publication in Tucson, Ariz. and their upcomingevent picks are shown. Banners that indicate that the pick is anofficial publication pick and provide the application user with an easymechanism to see “Go see” shows as recommended by the local media mayalso be included.

FIG. 16 includes an exemplary screenshot 1600 of the applicationdisplaying exemplary “one event page” view information and artist 1605and supporting artist 1607 tabs. FIG. 17 includes an exemplaryscreenshot 1700 of the application displaying exemplary “one event page”view information and venue information 1710. The event page views allowa user/fan to discover an upcoming event, the artist(s) playing, and thevenue hosting. Other content options and features that may be includedin these views include: listen to audio 1610; view video 1620; connectto the artist Facebook, Twitter, Website and other social mediadestinations 1630; share with friends 1640; see reviews; comment; add toMy Picks 1650; buy tickets 1660; and audio tracks 1670.

Referring now to “gamification,” the application may include a gameArchitecture to create recognition for user/fan actions and activities.Certain specific user actions, when identified and recognized, maycontribute to positive business outcomes. A gamification platform can beimplemented to track and recognize user activities, such as, e.g., audioplays, video plays, share events with friends, make comments aboutevents, create and share My Picks' calendars, acquisition of followers,and commenting. For example, when users who share their My Pickscalendars, additional referral user actions are tracked for establishinginfluencer clout (e.g., when a fan shares a pick and their “share-ees”click all of the above user actions). Gamification is a programmatictool that can identify the most influential live music fans and users ofthe application. Future usage may involve gifts to influencers and/orprovide deals, promos, artist meet-and-greets, etc., and campaigns byartists, venues, and brands.

The gamification platform may include the following features: SocialRank (VIP)—The Social Ranking (clout) challenge can have all of theenabled actions associated with it, including newly defined actions anduser actions; Challenge Badges—A set of actions and levels of the sametheme and users participate in site challenges by performing actionsassociated with the challenges; and Points—A unit that is appointed tousers when they perform an action on your site, all actions have a pointvalue associated with them. FIG. 18 a includes a table 1800 showingexemplary badge names and descriptions. A user can accumulate points toearn virtual rewards, such as levels and badges. Each badge graphic canbe provided in an on state (full color) and an off-state (grey color).In addition, there can be five levels per badge provided to correspondwith the five earned points levels.

Point System

Within the points system, actions can be throttled so that users can'tabuse the system. Exemplary frequency ratings based on current userestimated interaction: High>=2 per visit, Medium=1 per visit, Low<1 pervisit. Table 1 below shows exemplary Actions, Frequency, Importance, andassociated Point Values.

TABLE 1 Actions Frequency Importance Point Value (Leave Blank)Registration One-Time High 0 (Required to participate) Logins MediumHigh 0 (Required to participate) Comments Medium Medium 5 AcquiringMedium High 10  Followers Referral Traffic Medium High 5 (Only Appliesto Actions VIP badge) Listen to Audio High High 5 View Video High High 5Shares High Medium 10  

Clout Level

Clout levels determine user VIP rankings. The social VIP rank may beearned by aggregating all points from every action tracked on the site.If the application is using redeemable points to reward active users aswell, it may be an excellent indicator of how quickly users are movingthrough the overall game architecture. Table 2 below shows exemplaryClout Levels, Clout Level Names, and associated Point Milestones. CloutLevel Names may be any name—A, B, C, D, and E are shown as examples.

TABLE 2 Clout Level Clout Level Name Point Milestone 1 A 1,000 2 B 2,5003 C 5,000 4 D 10,000 5 E 25,000

Challenges

Challenge badges differ from the social rank (VIP) in that they may beassociated with just one or very few individual actions on the site.When a challenge is associated with just one action, the user can benotified with the number of actions to complete to reach the next levelof that challenge (e.g., 5 more shares to reach level 2). When achallenge is associated with more than one action, the user will seetheir progress towards the next level in points (e.g., 50 more points toreach level 2).

Exemplary names for challenge badge levels may be Promoter 1, Promoter2, etc. The application may allow virtually any name.

Challenge Name: Raving

The raving badge may be associated with artist promotion. Table 3 belowshows exemplary Challenge Levels, Challenge Level Names, and associatedPoint Milestones Actions.

TABLE 3 Action(s) Associate: Sharing, Commenting (Earn 10 points perShare and 5 points per Comment) Challenge Level Point Milestone ActionsChallenge Level Name (Shares-Comments) 1 Promoter 1   100 10-20 2Promoter 2   500  50-100 3 Promoter 3 1,000 100-200 4 Promoter 4 2,500250-500 5 Promoter 5 5,666   500-1,000

Actions show range of: Shares—Comments (left is all shares through allcomments on right)

Challenge Name: Connected

The connected badge may be associated with followers. Table 4 belowshows exemplary Challenge Levels, Challenge Level Names, and associatedPoint Milestones Actions.

TABLE 4 Action(s) Associate: Acquiring Followers (10 points earned perfollower) Challenge Level Point Milestone Challenge Level Name Followers1 Promoter 1 250 25 2 Promoter 2 500 50 3 Promoter 3 1,000 100 4Promoter 4 2,500 250 5 Promoter 5 5,000 500First Connected badge earned with the acquisition of 25 followers

Challenge Name: in the Know

The in the know badge may be associated with artist discovery. Table 5below shows exemplary Challenge Levels, Challenge Level Names, andassociated Point Milestones.

TABLE 5 Action(s) Associate: Audio Plays, Video Plays (5 points earnedper audio or video play) Challenge Level Point Milestone Challenge LevelName Total Plays 1 Promoter 1 125 25 2 Promoter 2 500 100 3 Promoter 31,250 250 4 Promoter 4 2,500 500 5 Promoter 5 5,000 1,000First In The Know badge earned with total of 10 plays (combination ofaudio and video plays)

The application may be modified to add more challenges as necessary.

FIG. 18 b includes an exemplary screenshot 1850 of the applicationdisplaying exemplary badges 1860 earned by the user while viewing aFriends' Pick page. By hovering over a badge with a selector (e.g., amouse for a computer), the application may provide more informationabout the badge, e.g., a larger view of the badge icon 1865, the badgename 1870, the challenge level description 1875, the earned level 1880,and challenge level descriptions (as shown in FIG. 18 a). Theapplication may also provide achievement information from the UserProfile page, My Live Music Clout, as shown in an exemplary screenshot1890, included in FIG. 18 c. Use same mouse-over display for badge name,etc. as on My Picks page. The user may eliminate points to unlock nextchallenge level name (show non-earned locked/grey'ed out badge with LiveMusic Clout Level 0).

FIG. 19 includes an exemplary screenshot 1900 of the applicationdisplaying exemplary badges earned by the user 1910 and badges availableto be earned 1920.

As discussed above (and as shown in FIG. 1), the application can build acomprehensive live music event ecosystem database, display live musicevent information in a variety of ways, and optimize a singledestination hub for live music events in each local market to optimizecommunication and commerce for live music events. The result of thesesteps is that each local market can possesses a single comprehensivelive music event hub and ecosystem workflow to optimize acquisition anddisplay of event, venue, artist, recommendation, buzzing, and friendsocialization in and around live music events. A self-optimizing networkeffect can be created where the local live music event hub incentsparticipation by the local ecosystem participants (e.g., venues, artistscoming to play events, local media, fans, as well as restaurants, bars,brands, etc. who seek access to fans at live music events) to provideinformation, data, and editorial point of view about upcoming events.This includes, for example, local hub marketing, communication,awareness, and additional commerce workflow.

In some embodiments, use of the application (e.g., GETn2it Hub) may befree in return for local hub marketing that self-reinforces (e.g.,through print advertisements marketing GETn2it the web application andthe mobile application) the local media publications (e.g., alternativenewsweekly publications), banners sponsored by brands to download thelocal live music application (to be placed on venue walls), and use ofthe Event Synch application provided to venues and promoters. FIG. 20includes an exemplary depiction 2000 of an exemplary advertisementassociated with the application. In this example, the half pageadvertisement may be placed each week in an alternative newsweeklypublication (e.g., the Nashville Scene) marketing the exemplaryapplication—GETn2it. FIG. 21 includes an exemplary depiction 2100 ofanother exemplary advertisement associated with the application. In thisexample, Event Synch is an application tool geared for venues andpromoters to place their events in the GETn2it application. The EventSynch advertisement highlights an exemplary local market video createdto incent fans to come to the application for a new one-stop place forlocal live music.

The application may also include a Dinner & Drink in the ConcertNeighborhood and Deals Platform. FIG. 22 a includes an exemplaryscreenshot 2200 of the application displaying an exemplary promotionoffered to a user of the application. FIG. 22 b includes an exemplaryscreenshot 2250 of the application displaying another exemplarypromotion offered to a user of the application. These exemplarypromotions may be part of the Dinner & Drink in the Concert Neighborhoodand Deals Platform offered via the application directly to users. Theapplication's web, social, and mobile advertisement platform canleverage geo fencing of venues and neighborhoods to deliver nationalbrand and local advertiser deals to fans who come into the concertneighborhood (e.g., as determined by a mobile device location) and tooffer venue deals, such as, e.g., concert tickets.

Based on permissions and legality of deals, the application may allowusers to opt in to receive dinner, drink, ticket and artist promotionsand deals to their mobile device, e.g., in general, day of show, or whentheir mobile device enters a live music event concert neighborhood.Deals offered by the application may be for local restaurants, bars, andadvertisers, as well as national brands and artists.

FIG. 23 includes an exemplary screenshot 2300 of the applicationdisplaying an exemplary locally branded version of the application. Anexemplary mobile application, the GETn2it Concert Calendar application,may be designed to be branded for the local market.

The application may also include various marketing tools that may beprovided, e.g., free of charge, to venues and artists to market theirevents and deals via the local event hub (application). This strategymay be designed to create a self-reinforcing network effect around theapplication. FIG. 24 includes an exemplary screenshot of the applicationdisplaying an exemplary interactive promotional tool 2400 for capturingand sharing media. VenueLive, e.g., can be an interactive tool designedto capture event marketing and deals, and then share them, e.g., viasocial media and through the application and fan mobile devices. Inpractice, for example, a live from the road (or VenueLive) applicationtool can be designed to capture an artist en route to a local event,record interesting audio and video content, and share this content viasocial media to instill excitement and event awareness. In addition, thecontent may include links to ticket purchase URLs to facilitate sellingmore tickets and merchandise deals for use in the venue during theconcert event. FIG. 25 and FIG. 26 include exemplary screenshots 2500,2600, respectively, of the application displaying exemplary views ofanother promotion creation tool, which can allow the user (e.g.,promoter, artist, etc.) to select a promotional type, associate thepromotion with an event, and share the promotion, e.g., via socialmedia.

FIG. 28 includes an exemplary depiction of exemplary communicationprotocols and exemplary devices containing the application. Theapplication may be executed on a variety of computing devices 2810,including, e.g., wired devices 2820 (e.g., desktop computers) and mobiledevices 2830 (e.g., smartphones and tablets), kiosks, or any otherdevice capable of hosting or presenting the application to a user with adisplay and input mechanism. The application may be stored in the memory2840 of a device and processed by a Central Processing Unit (CPU) 2850.The application may be stored and accessed via the same device, storedremotely in a first device and accessed via a different second device,or any other combination thereof. The application may be stored in localor remote memory (e.g., of a server 2860), and accessible directly orvia a network 2870 (e.g., over the internet 2880). The application mayalso be a web-based application accessible via the internet 2880. Adatabase associated with the application may be located in the same ordifferent memory location than the application. Similarly, a databaseassociated with the application may be accessed the same way ordifferently than the application.

While the present invention has been illustrated by the description ofembodiments thereof, and while the embodiments have been described insome detail, it is not the intention of the applicant to restrict or inany way limit the scope of the appended claims to such detail.Additional advantages and modifications will readily appear to thoseskilled in the art. Therefore, the invention in its broader aspects isnot limited to the specific details, representative apparatus andmethods, and illustrative examples shown and described. Accordingly,departures may be made from such details without departing from thespirit or scope of the applicant's general inventive concept.

Names and images related to certain artists, venues, potential sponsors,and other third parties are used in the submitted materials solely todemonstrate how the system would display or otherwise manage suchcategories of information. Neither In2une LLC nor its products orservices are sponsored, approved or endorsed by, or otherwise associatedwith, any such artists, venues, potential sponsors or other thirdparties.

1. An internet-based method for optimizing communication aboutentertainment events, comprising: acquiring entertainment event datafrom a plurality of data sources; acquiring artist data, wherein theartist is associated with the entertainment event, and wherein theartist data includes information a commercial user is authorized topromote; acquiring social media data, including a measure of socialactivity associated with the entertainment event or artist; providing anapplication that allows a fan user of the application, via a userinterface, to access information associated with the entertainmentevent, including at least one of location, date, time, tickets, venue,samples of the artist material, advertisements, promotions, articles,merchandise, and related events, wherein the fan user can save fan userdata, including at least one of their favorite venues or artists, flagupcoming events, access special promotions, and share their plans andinterests via social media; providing an application that allows a venueuser of the application to market the entertainment event to the fanuser based at least in part on the entertainment event data and the fanuser data; and creating a database, wherein the database includesinformation related to at least one of users, events, artists, venues,advertisers, and publications.